[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-133979-en":3,"doc-seo-133979-105":30,"detail-sidebar-cat-0-en-105":92},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":11,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},133979,137451211410,"\tCallum ","https://ap-avatar.wpscdn.com/avatar/2000bb0a9246f588df?x-image-process=image/resize,m_fixed,w_180,h_180&k=1786362646172706240",8,"Research & Report","Globalizing Manga - From Japan to Hong Kong and Beyond","The chapter examines how manga travels as a cultural product from Japan to Hong Kong and beyond, comparing cross-national visibility with shifts in influence. It traces manga’s rise within mass culture, the expansion mechanisms of Japanese media through regional networks, and the unequal global reach relative to Japan’s economic power. It also frames manga’s transnational circulation through globalization theories, explaining how cultural flows can occur via people relocating or via products spreading without native carriers, reshaping meanings across production and consumption contexts.","Wong, Wendy Siuyi. (2006) . Globalizing Manga: From Japan to Hong Kong and beyond. Mechademia: Emerging Worlds of Anime and Manga, Vol. 1: 23-45. Minneapolis: University of Minnesota Press.  \nW E N D Y S I U Y I W O N G     \nGlobalizing Manga:  \nFrom Japan to Hong Kong and Beyond  \nMany modern societies produce a form of visual and narrative art that contains a series of printed pictures, usually though not always with text.¹ In English, readers may call it sequential art, comics, comic books, cartoons, cartoon strips, or graphic novels. The French term is bande dessinée (BD), literally, “strip drawing.” In Chinese, commonly used terms are manhua, lianhuantu, and car-ton. The written Chinese characters for manhua are the basis for both the Japanese and the Korean terms for comics, which are, respectively, manga and manhwa.  \nNo matter what it is called, this visual art form in various countries and languages has similarities and differences. Scott McCloud points out that this art form is a communication medium able to convey information and to produce aesthetic pleasure for readers.² As a part of the globalization of media, American comics and animation have a long history of exporting such works. Studies find that American comics played an important role in introducing modern comics to Asia, as in Hong Kong in the 1950s and 1960s.³ In Japan, the great comics artist Tezuka Osamu openly acknowledged the influence of early Walt Disney and Max Fleisher animation in his work.⁴ Japan’s comics  \n23  \nand animation industry was the most developed among countries in Asia in the early 1960s. John Lent’s study of the American animation industry and its offshore factory development in East and Southeast Asia confirmed that Japan was the pioneer in the field in the region at that time.⁵ Indeed, when comics started to take off in Japan in the early 1960s, the influences of manga began to spread to its neighbors, and American influence started to wane in the region.  \nManga is “one of the features of mass culture in present-day Japan. In 1994, 2.27 billion manga books and magazines were published, making up 35 percent of all material published.”⁶ The manga market in Japan is big, and genres are highly diversified. However, when examining the exportation of Japanese cultural products, including comics, the cultural economist Dal Yong Jin points out that these products “have hardly penetrated worldwide to the same degree as its [Japan’s] economic power and the domestic culture market.”⁷ It was not until approximately fifteen years ago, partly because of Japan’s economic recession, that the Japanese manga industry began to grant copyrights to overseas publishers in Asia and to explore the transnational development of its cultural products.  \nThe influence of manga in Southeast Asian societies is obvious. Outside Japan and Asia, the visibility of manga is clearly emerging into the mainstream media.⁸ Comics scholars and cultural studies scholars are optimistic that Japan can be “consider[ed] as another centre of globalization” because of the current global development of manga and anime.⁹ This chapter aims to investigate the flow of manga as a cultural product in the global market, from its country of origin, Japan, to the neighboring region and then to therest of the world. Because of the influence of American and Western comics in manga, one may find that Japanese manga are  \nundoubtedly deeply imbricated in U.S. cultural imaginaries, but they dynamically rework the meanings of being modern in Asian contexts atthe site of production and consumption. In this sense, they are neither“Asian” in any essentialist meaning nor second-rate copies of “American originals.” They are inescapably “global” and “Asian” at the same time, lucidly representing the intertwined composition of global homogenization and heterogenization, and thus they well articulate the juxtaposed sameness and difference.¹⁰  \nI am interested in exploring these globalization flows by focusing on man","cbCaicmzsAblrYUh","https://ap.wps.com/l/cbCaicmzsAblrYUh","pdf",2186957,1,24,"English","en",105,"# Introduction\n## Visual and narrative art as sequential art\n## Early regional influence and export histories\n# Manga’s global circulation\n## Market size and diversification\n## Exportation and copyright expansion\n## Influence beyond Japan\n# Theoretical issues of globalization\n## Historical roots and definitions\n## Routes of cultural globalization","[{\"question\":\"How does the chapter define sequential or visual narrative art across languages?\",\"answer\":\"It describes printed picture-based narrative art as sequential art or comics in English, and explains how comparable terms exist in French and Chinese, including manhua and related Korean/Japanese forms.\"},{\"question\":\"What historical factors contributed to manga’s spread beyond Japan?\",\"answer\":\"It links early export and regional reception to American influence waning in Japan’s early 1960s boom, alongside evidence that Japan was a regional pioneer in comics and animation development.\"},{\"question\":\"What two routes does the chapter discuss for cultural globalization?\",\"answer\":\"It presents cultural globalization through relocating individuals (sojourner route) who carry culture into new places, and through the spread of cultural products abroad without native carriers (nonsojourner route).\"}]","Globalizing Manga - From Japan to Hong Kong and Beyond | PDF",1787230917,60,{"code":4,"msg":31,"data":32},"ok",{"site_id":24,"language":23,"slug":33,"title":13,"keywords":34,"description":14,"schema_data":35,"social_meta":87,"head_meta":89,"extra_data":91,"updated_unix":28},"globalizing-manga-from-japan-to-hong-kong-and-beyond","",{"@graph":36,"@context":86},[37,54,69],{"@type":38,"itemListElement":39},"BreadcrumbList",[40,44,48,51],{"item":41,"name":42,"@type":43,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":45,"name":46,"@type":43,"position":47},"https://docshare.wps.com/document/","Document",2,{"item":49,"name":12,"@type":43,"position":50},"https://docshare.wps.com/document/research-report/",3,{"item":52,"name":13,"@type":43,"position":53},"https://docshare.wps.com/document/globalizing-manga-from-japan-to-hong-kong-and-beyond/133979/",4,{"url":52,"name":13,"@type":55,"author":56,"headline":13,"publisher":58,"fileFormat":61,"inLanguage":23,"description":14,"dateModified":62,"datePublished":63,"encodingFormat":61,"isAccessibleForFree":64,"interactionStatistic":65},"DigitalDocument",{"name":9,"@type":57},"Person",{"url":41,"name":59,"@type":60},"DocShare","Organization","application/pdf","2026-09-02","2026-08-20",true,{"@type":66,"interactionType":67,"userInteractionCount":11},"InteractionCounter",{"@type":68},"ViewAction",{"@type":70,"mainEntity":71},"FAQPage",[72,78,82],{"name":73,"@type":74,"acceptedAnswer":75},"How does the chapter define sequential or visual narrative art across languages?","Question",{"text":76,"@type":77},"It describes printed picture-based narrative art as sequential art or comics in English, and explains how comparable terms exist in French and Chinese, including manhua and related Korean/Japanese forms.","Answer",{"name":79,"@type":74,"acceptedAnswer":80},"What historical factors contributed to manga’s spread beyond Japan?",{"text":81,"@type":77},"It links early export and regional reception to American influence waning in Japan’s early 1960s boom, alongside evidence that Japan was a regional pioneer in comics and animation development.",{"name":83,"@type":74,"acceptedAnswer":84},"What two routes does the chapter discuss for cultural globalization?",{"text":85,"@type":77},"It presents cultural globalization through relocating individuals (sojourner route) who carry culture into new places, and through the spread of cultural products abroad without native carriers (nonsojourner route).","https://schema.org",{"og:url":52,"og:type":88,"og:title":13,"og:site_name":59,"og:description":14},"article",{"robots":90,"canonical":52},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":93},[94,98,102,106,110,115,120,123,128,131,135],{"id":20,"doc_module":4,"doc_module_name":46,"category_name":95,"show_sort_weight":96,"slug":97},"Story & Novel",90,"story-novel",{"id":47,"doc_module":4,"doc_module_name":46,"category_name":99,"show_sort_weight":100,"slug":101},"Literature",80,"literature",{"id":53,"doc_module":4,"doc_module_name":46,"category_name":103,"show_sort_weight":104,"slug":105},"Exam",70,"exam",{"id":107,"doc_module":4,"doc_module_name":46,"category_name":108,"show_sort_weight":29,"slug":109},5,"Comic","comic",{"id":111,"doc_module":4,"doc_module_name":46,"category_name":112,"show_sort_weight":113,"slug":114},6,"Technology",50,"technology",{"id":116,"doc_module":4,"doc_module_name":46,"category_name":117,"show_sort_weight":118,"slug":119},7,"Healthcare",40,"healthcare",{"id":11,"doc_module":4,"doc_module_name":46,"category_name":12,"show_sort_weight":121,"slug":122},30,"research-report",{"id":124,"doc_module":4,"doc_module_name":46,"category_name":125,"show_sort_weight":126,"slug":127},9,"Religion & Spirituality",20,"religion-spirituality",{"id":126,"doc_module":4,"doc_module_name":46,"category_name":129,"show_sort_weight":126,"slug":130},"World Cup","world-cup",{"id":132,"doc_module":4,"doc_module_name":46,"category_name":133,"show_sort_weight":132,"slug":134},10,"Lifestyle","lifestyle",{"id":136,"doc_module":4,"doc_module_name":46,"category_name":137,"show_sort_weight":107,"slug":138},19,"General","general"]